The purpose of this article is to demonstrate that Wassily Kandinsky’s geometrical paintings were inspired by the ballet world, and by the body movements of the ballerina. Moreover, painting and ballet communicate with each other. And geometry has helped that. Then, the idea of this article starts with the necessity in relating Kandinsky’s Spiritual theory on non-materiality exposed in Über das Geistige in der Kunst with Sergei Diaghilev’s Ballets Russes brought on Parisian scene between 1909s and 1929s. Ballets Russes is the term which names all the ballet representations thought and designed by Sergei Diaghilev after his musical-cultural conflict with Nikolai Rimski Korsakov. Starting with 1907s, Kandinsky had initiated Der Blaue Reiter group and he starts with various drawing techniques. Were favourable years in which Kandinsky’s evolution from simple drawings to sophisticated Compositions got up. We are witnessing a cultural increasement. So, the ballet, the music, the theatre and the painting can not be separated any more or, at least, or, at least, cannot be thought of separately as systems of aesthetic theory. The aesthetic evolution from ballet and theatre had influenced the evolution in painting. What we will try to show as novelty in our investigation, is the kinetic and spiritual relation between Kandinsky’s Compositions and some representations from Ballets Russes by Sergei Diaghilev, especially with the «L’Oiseau de feu». In conclusion, we want to show how the lines designed by Wassily Kandinsky are describing ballet’s movements. The methods used in our research have consisted in the inter-artistic comparison between Wassily Kandinsky’s theory of painting and the ballets designed by Sergei Diaghilev. We also brought a philosophical and personal perspective on both worlds.
The analysis of the aesthetic face of dance brings to our forefront the fascination for the movement on many artists who experienced the movement and, above all, explored the possibilities of kinetic art or movement movement. In its most elevated form, dance contains not only this element but also the infinite richness of human personality. It is the perfect synthesis of the abstract and the human, of mind and intellect with emotion, discipline with spontaneity, spirituality with erotic attraction to which dance aspires; and in dance as a form of communication, it is the most vivid presentation of this fusion act that is the ideal show.
From 28 February to 3 March 2013 the festival of contemporary kinetic art Kinetica Art Fair 2013 was held in London. It was its fifth edition, the motto being Doors of Perception: The Thin Veil. It was attended by representatives of the United Kingdom, Brazil, Russia, Poland, USA, France, the Netherlands, Belgium, Spain, Germany, Turkey, Indonesia, and Israel. Those invited to take part were artists and computer scientists exploring transdisciplinary areas verging on kinetic and electronic art, design, visual illusion, cybernetics, cyberneurology, construction of virtual machinery, and archeology of the media. Many attendees to the festival presented works and ideas which - while participating in the development of present-day culture, science and technology - are far ahead of the surrounding everyday realities and carry ambitions to participate in global civilization transformations associated with present-day revolutionary processes. Most of the exhibited works at the Kinetica Art Fair 2013, although characterized by aspirations to create solutions geared towards the future, are strongly anchored in the tradition of the visual media. The Kinetica Art Fair plays a significant part in creating a new type of sensitivity characteristic of the new generation of artists and audiences. This is sensitivity susceptible to electric vibrations, subliminal stimuli, and states close to entoptic visions combining illusion with reality, stimulating our perception mechanism to go beyond its limitations, and opening the doors to a new perception.
: Humans and other animals in a biopolitical frame . Chicago, IL: University of Chicago Press.
Woolf, V. (2002 ). On being Ill . Ashfield, MA: Paris Press.
Zeki, S., & Lamb, M. S. (1994). The neurology of kineticart. Brain: A Journal of Neurology, 117 , 607–636.
Zeki, S. (1999). Art and the brain. Daedalus, 127 (2), 71–103.